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tritone
Inverse Name Other names augmented fourth, diminished fifth TT Size Semitones Interval class Just interval 6 6 7:5, 10:7, 25:18, 45:32, 729:512... Cents Equal temperament 24 tone equal temperament Just intonation 600 600 tritone
Abbreviation
The augmented fourth between C and F forms a tritone. Play (helpinfo) The tritone ( Play (helpinfo), tri- "three" and tone) is a musical interval that spans three whole tones. The tritone, sometimes known as the Diabolus in Musica, is the same as an augmented fourth, which in 12-tone equal temperament is enharmonic to a diminished fifth. It is often used as the main interval of dissonance in Western harmony, and is important in the study of musical harmony. "Any tendency for a tonality to emerge may be avoided by introducing a note three whole tones distant from the key note of that tonality."[1]
Contents
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1 Definition and nomenclature 2 Common uses 3 Historical uses 4 Examples in music 5 References 6 External links 7 See also
The half-octave tritone interval is used in the musical/auditory illusion known as the tritone paradox.
The diminished chord also contains a tritone in its construction, deriving its name from the diminished fifth interval (i.e. a tritone). The half-diminished seventh chord contains the same tritone, while the fully diminished seventh chord is made up of two superposed tritones a minor third apart. Other chords built on these, such as ninth chords, often include tritones (as diminished fifths). In all of the sonorities mentioned above, used in functional harmonic analysis, the tritone pushes towards resolution, generally resolving by step in contrary motion.
The tritone is also one of the defining features of the Locrian mode, being featured between the and fifth scale degrees. Compared to other commonly occurring intervals like the major second or the minor third, the augmented fourth and the diminished fifth (both two valid enharmonic interpretations of the tritone) are considered awkward intervals to sing. Western composers have traditionally avoided using it explicitly in their melody lines, often preferring to use passing tones or extra note skipping instead of using a direct leap of an augmented fourth or diminished fifth in their melodies. However, as time went by, composers have gradually used the tritone more and more in their music, disregarding its awkwardness and exploiting its expressiveness.[citation needed]
The name diabolus in musica ("the Devil in music") has been applied to the interval from at least the early 18th century. Johann Joseph Fux cites the phrase in his seminal 1725 work Gradus ad Parnassum, Georg Philipp Telemann in 1733 notes, "'mi against fa', which the ancients called 'Satan in music'", and Johann Mattheson in 1739 writes that the "older singers with solmization called this pleasant interval 'mi contra fa' or 'the devil in music'".[4] Although the latter two of these authors cite the association with the devil as from the past, there are no known citations of this term from the Middle Ages, as is commonly asserted.[5] However Denis Arnold, in the The New Oxford Companion to Music, suggests that the nickname was already applied early in the medieval music itself:
"It seems first to have been designated as a 'dangerous' interval when Guido of Arezzo developed his system of hexachords and with the introduction of B flat as a diatonic note, at much the same time acquiring its nickname of 'Diabolus in Musica' ('the devil in music')". [6]
Because of that original symbolic association with the devil and its avoidance, this interval came to be heard in Western cultural convention as suggesting an "evil" connotative meaning in music. Today the interval continues to suggest an "oppressive", "scary", or "evil" sound. However, suggestions that singers were excommunicated or otherwise punished by the Church for invoking this interval are likely fanciful. At any rate, avoidance of the interval for musical reasons has a long history, stretching back to the parallel organum of the Musica Enchiriadis. In all these expressions, including the commonly cited "mi contra fa est diabolus in musica", the "mi" and "fa" refer to notes from two adjacent hexachords. For instance, in the tritone B-F, B would be "mi", that is the third scale degree in the "hard" hexachord beginning on G, while F would be "fa", that is the fourth scale degree in the "natural" hexachord beginning on C.
Later in history with the rise of the Baroque and Classical music era, that interval came to be perfectly accepted, but yet was used in a specific controlled way, notably through the principle of the tension/release mechanism of the tonal system. In that system (which is the fundamental musical grammar of Baroque and Classical music), the tritone is one of the defining intervals of the dominant-seventh chord and two tritones separated by a minor third give the fully-diminished seventh chord its characteristic sound. In minor, the diminished triad (comprising two minor thirds which together add up to a tritone) appears on the second scale degree, and thus features prominently in the progression iio-V-i. Often, the inversion iio6 is used to move the tritone to the inner voices as this allows for stepwise motion in the bass to the dominant root. In three-part counterpoint, free use of the diminished triad in first inversion is permitted, as this eliminates the tritone relation to the bass.[7] It is only with the Romantic music and modern classical music that composers started to use it totally freely, without functional limitations notably in an expressive way to exploit the "evil" connotations which are culturally associated to it (e.g., Liszt's use of the tritone to suggest hell in his Dante Sonata; Saint-Sans' scordatura for the solo violin in Danse Macabre, where the E-string is tuned to E to suggest the devil tuning his fiddle.). The tritone was also exploited heavily in that period as an interval of modulation for its ability to move quickly to distant keys; a tritone such as B-F could just as easily resolve to F# major as it is to C major, thanks to the tritonal symmetry that the interval possesses. Later on, in twelve-tone music, serialism, and other 20th century compositional idioms it came to be considered as a neutral interval.[8] In some analyses of the works of 20th century composers, the tritone plays an important structural role; perhaps the most noted is the axis system, proposed by Ern Lendvai, in his analysis of the use of tonality in the music of Bla Bartk.[9] Tritone relations are also important in the music of George Crumb and Mario Lavista. Tritones also became important in the development of jazz tertian harmony, where triads and seventh chords are often expanded to become 9th, 11th, or 13th chords, and the tritone often occurs as a substitute for the naturally occurring interval of the perfect 11th. Since the perfect 11th (i.e. an octave plus perfect fourth) is typically perceived as a dissonance requiring a resolution to a major or minor 10th, chords that expand to the 11th or beyond typically raise the 11th a half step (thus giving us an augmented or sharp 11th, or an octave plus a tritone from the root of the chord) and present it in conjunction with the perfect 5th of the chord. Also in jazz harmony, the tritone is both part of the dominant chord and its substitute dominant (also known as the sub V chord). Because they share the same tritone, they are possible substitutes for one another. This is known as a tritone substitution. The tritone substitution is one of the most common chord and improvisation devices in jazz. Dual-tone civil defense sirens, built in New York in the 1950's by the now-defunct H.O.R. Inc., were designed to sound a tritone interval. Apple's Macintosh II series computers used the tritone as the startup sound. [10]
Lists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (January 2010) The opening notes to Purple Haze by The Jimi Hendrix Experience consist of a tritone between the bass and guitar.[citation needed] In Leonard Bernsteins West Side Story when Tony sings the name Maria as a melodic tritone[11] resolving to a perfect fifth. (Bernstein uses the tritone as a motif throughout this score.) Technical-death metal band Between the Buried and Me uses tritones very often, usually as diminished fifth (power) chord lines (prominent in the opening riff of "Foam Born b) The Decade of Statues" the second song off of their 2007 album, Colors).[citation
needed]
In Black Sabbath's self-titled song from their self-titled album, the main riff is composed of tritone notes, which gives it its menacing sound.[citation needed] Canadian rock band Rush feature the tritone heavily in the introduction to their famous instrumental YYZ. The intro consists entirely of the tritone C to F sharp played to the rhythm of the letters YYZ in Morse code.[citation needed] The opening notes of The Simpsons theme are tritones.[citation needed] (many of Danny Elfman's themes feature prominent tritones) The unifying motif for Benjamin Britten's War Requiem is a tritone. The tritone also features in Saint-San's Danse Macabre. In the theme music by award-winning composer Michael Giacchino that plays for the character of Jacob in the TV Drama Lost, the tritone is used in the opening melody, from a C down to the F#. British folk band Chumbawamba features the interval itself and as the subject of a song on their 2010 release ABCDEFG titled The Devil's Interval.[12]
[edit] References
1. ^ Brindle, Reginald Smith (1966). Serial Composition. Oxford University Press. pp. 66. ISBN 0-19-311906-4. http://books.google.com/books? id=gvNLXHpusw8C. 2. ^ John Fonville. "Ben Johnston's Extended Just Intonation- A Guide for Interpreters", p.114, Perspectives of New Music, Vol. 29, No. 2 (Summer, 1991), pp. 106-137. 3. ^ Drabkin, William. "Tritone". Grove Music Online (subscription access). Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/28403. Retrieved 2008-07-21.
4. ^ Reinhold, Hammerstein (1974) (in German). Diabolus in musica: Studien zur Ikonographie der Musik im Mittelalter. Neue Heidelberger Studien zur Musikwissenschaft. 6. Bern: Francke. pp. 7. OCLC 1390982. "...mi contra fa ... welches die alten den Satan in der Music nenneten" "...alten Solmisatores dieses angenehme Intervall mi contra fa oder den Teufel in der Music genannt haben." 5. ^ F. J. Smith, "Some aspects of the tritone and the semitritone in the Speculum Musicae: the non-emergence of the diabolus in music," Journal of Musicological Research 3 (1979), pp. 63-74, at 70. 6. ^ Arnold, Denis (1983) Tritone in The New Oxford Companion to Music, Volume 1: A-J,Oxford University Press. ISBN 0-19-311316-3 7. ^ Jeppesen, Knud (1992). Counterpoint: the polyphonic vocal style of the sixteenth century. trans. by Glen Haydon, with a new foreword by Alfred Mann. New York: Dover. ISBN 048627036X. http://books.google.com/books? id=OcSVGkug58gC. 8. ^ Persichetti, Vincent (1961). Twentieth-century Harmony: Creative Aspects and Practice. New York: W. W. Norton. ISBN 0-393-09539-8. OCLC 398434. 9. ^ Lendvai, Ern (1971). Bla Bartk: An Analysis of his Music. introd. by Alan Bush. London: Kahn & Averill. pp. 116. ISBN 0900707046. OCLC 240301. 10. ^ Welcome to Macintosh: The Documentary for the Rest of Us, 2008 11. ^ Levitin, Daniel J.. This is your brain on music. date=2007. Dutton. ISBN 9780452288522. 12. ^ http://www.spiralearth.co.uk/attitude/editors_chumba_2.asp
BBC News Magazine article about the tritone Satan's all-time greatest hit: Will Hodgkinson on the devil's interval
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Intervals
Perfectunison (0) fourth (5) fifth (7) octave (12) Majorsecond (2) third (4) sixth (9) seventh (11) Western twelvesemitone Minorsecond (1) third (3) sixth (8) seventh (10) Augmented Diminished unison (1) second (3) third (5) fourth (6) fifth (8) sixth (10) seventh (12) unison (-1) second (0) third (2) fourth (4) fifth (6) sixth (7) seventh (9) octave (11)
Supermajo second (2) third (4) sixth (9) seventh (11) r Other systems Neutralsecond (1) third (3) sixth (8) seventh (10) Subminorsecond () third (2) sixth (7) seventh (9) Groups Microtone Comma Pseudo-octave Pythagorean interval
Other intervals
Pythagorean comma Pythagorean apotome Pythagorean limma Diesis Septimal diesis Septimal comma Syntonic comma Schisma Diaschisma Major limma CommasRagisma Breedsma Kleisma Septimal kleisma Septimal semicomma Orwell comma Semicomma Septimal sixth-tone Septimal quarter tone Septimal third-tone Septimal chromatic semitone MeasurementCent millioctave Savart Others Quarter tone Wolf Ditone Semiditone Holdrian comma Secor
semitones are given in brackets; fractional semitones are approximate Retrieved from "http://en.wikipedia.org/wiki/Tritone" Categories: Intervals Hidden categories: All articles with unsourced statements | Articles with unsourced statements from May 2008 | Articles with trivia sections from January 2010 | All articles with trivia sections | Articles with unsourced statements from December 2009